However, this is a tweaked facsimilie, which makes it less than satisfactory for use in historical study. Peterson re-drew some missing details and cleaned up the colors where stenciling went outside the lines.

IIRC he also redrew non missing details, which is another point that bothered me - but the colours are the biggest problem.

That being said, for historical studies, the whole deck (the remaining cards) is available online.

I do not think that this is advertised as a facsimile, however, but a "restoration" --which can be a sort of umbrella term, I agree, but there you have it. One way or the other, a "restoration" is not intended for historical study, but mostly for practical use as a reading deck (like all those restored editions of the Visconti Sforza) and cannot be faulted for not being a facsimile, when it does not purport to be one.

Doing a facsimile is a mission that should be done by Museums who ownes some original tarots. More specificly for National Museum as British Museum, B.N.F Paris ect...
But finances are a problem that block this type of operation for Museums.

Doing a restoration, restitution, new versions, mix of uncomplete tarots packs, is more devoted to private sector.

Personnaly I decided to do both facsimiles and also restitutions because Museums are reluctant to act and I can't wait for an hypothetic decision of any of them.

Doing a Noblet tarot facsimile is a financial risk for a private actor as me but I support Joseph H. Peterson in his attempt and his proposition with his supernumerary cards, options in drawing ect... He try to find a financial balance and propose something more or less satisfactory.

I would have not done it for sure (and will not in future) because I estimate that many other tarot decks deserves to be published in priority.

Two tarot decks per year is my rythm of production for 7 coming years....

Doing a facsimile is a mission that should be done by Museums who ownes some original tarots. More specificly for National Museum as British Museum, B.N.F Paris ect...
But finances are a problem that block this type of operation for Museums.

Doing a restoration, restitution, new versions, mix of uncomplete tarots packs, is more devoted to private sector.

Personnaly I decided to do both facsimiles and also restitutions because Museums are reluctant to act and I can't wait for an hypothetic decision of any of them.

Doing a Noblet tarot facsimile is a financial risk for a private actor as me but I support Joseph H. Peterson in his attempt and his proposition with his supernumerary cards, options in drawing ect... He try to find a financial balance and propose something more or less satisfactory.

I would have not done it for sure (and will not in future) because I estimate that many other tarot decks deserves to be published in priority.

Two tarot decks per year is my rythm of production for 7 coming years....

Plus some tarot projects that tease me.

Salutations from Marseille City Capitale of tarot

Yves Reynaud

And we are very thankful for your hard work, Yves, as you produce one stunning deck after another.

I'm curious about your opinion on the original Noblet: are you saying that you wouldn't have done it because it has already been done, or because you think other decks deserve more recognition?

And we are very thankful for your hard work, Yves, as you produce one stunning deck after another.

I'm curious about your opinion on the original Noblet: are you saying that you wouldn't have done it because it has already been done, or because you think other decks deserve more recognition?

Hello Flizarraga and all,

When I bought some years ago a 22 Majors only stenciled version from Jean Claude and Roxanne Flornoy I was very impressed by quality of this artistic rendition.

When industrial versions cames Noblet and Dodal I was dissapointed and later serached for Jean Pierre Payen tarot.
It was in fact more rich in details and more interesting comparing to Dodal tarot.
So I made Jean Pierre Payen 1713 tarot.

For Noblet I estimate as you suppose well that many other Tarot of Marseille pattern deserves to be better know or even discovered.

This are my next tasks.

Noblet has enough versions now and frankly I don't like it as drawing, details ect....
Unless I find a better original that may allows a nice facsimile.

When I bought some years ago a 22 Majors only stenciled version from Jean Claude and Roxanne Flornoy I was very impressed by quality of this artistic rendition.

When industrial versions cames Noblet and Dodal I was dissapointed and later serached for Jean Pierre Payen tarot.
It was in fact more rich in details and more interesting comparing to Dodal tarot.
So I made Jean Pierre Payen 1713 tarot.

For Noblet I estimate as you suppose well that many other Tarot of Marseille pattern deserves to be better know or even discovered.

This are my next tasks.

Noblet has enough versions now and frankly I don't like it as drawing, details ect....
Unless I find a better original that may allows a nice facsimile.

Salutations from Marseille City

Yves

Yes, Noblet or not Noblet --that is indeed the problème. Thanks for answering!

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